Eco-Friendly Craft Hub A sustainable crafting paradise, this she shed focuses on eco-friendly projects using recycled materials, surrounded by natural greenery and bathed in sunlight, inspiring eco-conscious creativity.

Discover 30 legitimate online and offline jobs with the potential to earn $50 an hour or more. From digital professions to traditional roles, explore diverse career opportunities and learn how to maximize your income while pursuing a fulfilling career path.

Charlotte Mason Style Watercolor LessonIf I’m honest, I have to admit that art is the first thing to fall by the wayside when homeschooling gets busy. It’s not just because I find drawi…

Test your knowledge with this Playbuzz quiz, which tasks you with selecting the shade created when two different colours are mixed together. You have four options to choose from - but they vary only subtly.

Since color is everywhere, for one or more reasons, it is useful to learn their meanings and what they’re typically associated with as well as what moods they tend to evoke. This gets jumbled up because there are similarities and overlaps between them, and words can fall short, so I’ll try to make clear distinctions between them. Symbolically, there is power in every shade of color, although it is more often than not acknowledged for only the few with characteristics that we recognize as powerful under circumstances we are commonly forced into. But they all can be at an advantage or at a disadvantage, given the scenario. White White relates to rectitude. It may be attributed to purity, coming from innocence and naivete, but it is not necessarily so. This purity may have more to do with having revised and polished principles and values by which you’re guided that may simultaneously guard you or even give you immunity against corruption. White is often portrayed where there is celestial divinity and clarity so brilliant that it can be momentarily blinding. White evokes a sense of safety and sanity. Black Black relates to the unknown (an enigma). Where darkness reigns, there is intrigue and an intensity that can be intimidating. It may be attributed to evil, but that is usually the projection of one’s fears. In the absence of visibility, you could expect the worst. Black is often used to show a void and what has been consumed by horror. Black evokes a sense of preservation - by any means. Red Red relates to will. Often attributed to vitality and stamina, and rightly so. Impulsivity and potential recklessness. It is a force to be reckoned with. Almost completely unstoppable. Red comes up where there is an undeniable passion and a fieriness that is hard to extinguish. Red evokes a sense of danger (which may excite or scare). Orange Orange relates to resources. Having different tools and materials - and making the most of them. Frequently attributed to creative leadership, but I’d call it thinking outside the box and going further because of it. Orange is often where pleasure and enthusiasm are, as well as what stands out. Orange evokes a sense of possibility. Yellow Yellow relates to confidence. And joy. But not just any joy. The liberating childlike joy that is free from inhibitions. Attributed to illumination, it also refers to wit and cleverness - or eureka moments. Yellow is seen where there is happiness and a vibrant disposition. Yellow evokes a sense of audacity. Green Green relates to restoration. Mostly attributed to nature and healing, it may have negative connotations too. However, in essence, it speaks of remedies and medicine. Green is where attunement and nourishment are. Green evokes a sense of renewal. Blue Blue relates to harmony. Attributed to security and trustworthiness, it can also be about getting along or safeguarding that. False and detrimental relations won’t do. This is about reliability. Blue appears where you can or are invited to let down your defenses. Blue evokes a sense of sincerity. Purple Purple relates to mysticism. Attributed to mystery and what goes beyond. It is tied to wisdom and spirit. Looking into the abstract. Purple permeates that which is considered sorcery or merely esoteric. Purple evokes a sense of depth. Pink Pink relates to endearment. Although mainly attributed to tender romances, it is not limited to that. It regards what is lovely to us and how gentle that makes us. Whether that’s a partner, a friend, a family member, or anything else that can be cherished. Pink appears as what is soft and sweet. Pink evokes a sense of care. Brown Brown relates to practicality. Attributed to grounded and methodical work as well as the other side of that coin, which is a resoluteness that can come across as obstinate. As if stuck in its ways. However, it may be more about having made sure of the approach. Brown can be found where there are chores and the cozy rewards after them. Brown evokes a sense of responsibility. There is more to all of them, but maybe this is enough to start getting to know them and what they bring in and out. Colors are intentionally and unintentionally used to convey more or to enact a response. It is worth pointing out, however, that they are also at times used to pass as what is not, which would be reprimandable if done for the sake of or what could result in harmful deceit. Otherwise, though, they can be played with for a wide range of experiences.

Social Media has created astonishing new opportunities for the modern artist; whether it’s due to the...

An up-close look at a sculpture made from discarded doll parts by Freya Jobbins. Referring to herself as a “plastic surgeon” of sorts, Australia-based artist and sculptor Freya Jobbins uses pieces of dolls and other toys to create eerie human looking faces, busts and figures that appear to be holding themselves together with their own inanimate plastic parts. Unlike many of her artistically inclined peers Jobbins didn’t start out as an artist and after figuring out that being a policewoman wasn’t as much fun as Angie Dickinson made it look, she decided to go back to school and graduated with a major in both printmaking and sculpture in 2004. Jobbins collects her materials from second-hand sources and her thought-provoking works conjure up a full range of responses from fascination to fear. Here’s Jobbins’ own take on her compelling sculptures: I am interested in generating a range of responses to existing cultural objects, which have been placed out of context. The irony of my plastic works is that I take a material that was created to be touched, and I make it untouchable as an artwork. Jobbins’ choice of materials help reinforce the importance of reuse...

An up-close look at a sculpture made from discarded doll parts by Freya Jobbins. Referring to herself as a “plastic surgeon” of sorts, Australia-based artist and sculptor Freya Jobbins uses pieces of dolls and other toys to create eerie human looking faces, busts and figures that appear to be holding themselves together with their own inanimate plastic parts. Unlike many of her artistically inclined peers Jobbins didn’t start out as an artist and after figuring out that being a policewoman wasn’t as much fun as Angie Dickinson made it look, she decided to go back to school and graduated with a major in both printmaking and sculpture in 2004. Jobbins collects her materials from second-hand sources and her thought-provoking works conjure up a full range of responses from fascination to fear. Here’s Jobbins’ own take on her compelling sculptures: I am interested in generating a range of responses to existing cultural objects, which have been placed out of context. The irony of my plastic works is that I take a material that was created to be touched, and I make it untouchable as an artwork. Jobbins’ choice of materials help reinforce the importance of reuse...

An up-close look at a sculpture made from discarded doll parts by Freya Jobbins. Referring to herself as a “plastic surgeon” of sorts, Australia-based artist and sculptor Freya Jobbins uses pieces of dolls and other toys to create eerie human looking faces, busts and figures that appear to be holding themselves together with their own inanimate plastic parts. Unlike many of her artistically inclined peers Jobbins didn’t start out as an artist and after figuring out that being a policewoman wasn’t as much fun as Angie Dickinson made it look, she decided to go back to school and graduated with a major in both printmaking and sculpture in 2004. Jobbins collects her materials from second-hand sources and her thought-provoking works conjure up a full range of responses from fascination to fear. Here’s Jobbins’ own take on her compelling sculptures: I am interested in generating a range of responses to existing cultural objects, which have been placed out of context. The irony of my plastic works is that I take a material that was created to be touched, and I make it untouchable as an artwork. Jobbins’ choice of materials help reinforce the importance of reuse...

Made of plastic and metal, it harms our oceans just like microbeads.

An up-close look at a sculpture made from discarded doll parts by Freya Jobbins. Referring to herself as a “plastic surgeon” of sorts, Australia-based artist and sculptor Freya Jobbins uses pieces of dolls and other toys to create eerie human looking faces, busts and figures that appear to be holding themselves together with their own inanimate plastic parts. Unlike many of her artistically inclined peers Jobbins didn’t start out as an artist and after figuring out that being a policewoman wasn’t as much fun as Angie Dickinson made it look, she decided to go back to school and graduated with a major in both printmaking and sculpture in 2004. Jobbins collects her materials from second-hand sources and her thought-provoking works conjure up a full range of responses from fascination to fear. Here’s Jobbins’ own take on her compelling sculptures: I am interested in generating a range of responses to existing cultural objects, which have been placed out of context. The irony of my plastic works is that I take a material that was created to be touched, and I make it untouchable as an artwork. Jobbins’ choice of materials help reinforce the importance of reuse...

What are sketchnotes? Sketchnotes are becoming an increasingly popular way for students to take notes for lectures. However, there is much value to be gained from using them along with – or instead of – traditional methods like Cornell notes and annotation. Studies have shown that engaging the visual part of the brain as ... Read more

An up-close look at a sculpture made from discarded doll parts by Freya Jobbins. Referring to herself as a “plastic surgeon” of sorts, Australia-based artist and sculptor Freya Jobbins uses pieces of dolls and other toys to create eerie human looking faces, busts and figures that appear to be holding themselves together with their own inanimate plastic parts. Unlike many of her artistically inclined peers Jobbins didn’t start out as an artist and after figuring out that being a policewoman wasn’t as much fun as Angie Dickinson made it look, she decided to go back to school and graduated with a major in both printmaking and sculpture in 2004. Jobbins collects her materials from second-hand sources and her thought-provoking works conjure up a full range of responses from fascination to fear. Here’s Jobbins’ own take on her compelling sculptures: I am interested in generating a range of responses to existing cultural objects, which have been placed out of context. The irony of my plastic works is that I take a material that was created to be touched, and I make it untouchable as an artwork. Jobbins’ choice of materials help reinforce the importance of reuse...

"MYCELIUM DREAMING" 17"x22" (including 1-2" white border) Ultra-smooth archival fine-art paper PRINT by Autumn Skye High-quality Museum-grade giclee paper print, in protective plastic sleeve.

Within Pernicious Misgiving D3, the vigorous energy of midnight saturates the visual field, contrasted by dapples of cobalt and a fervent cerulean that conjure ephemeral visions in the imagination. As shadows and light intersect, this segment of the larger mosaic pulses with a life of its own - a visual sonnet of artistic innovation. Collectors will recognize the presence of this ouevre, promising to captivate and resonate with the aesthetically-inclined, its allure magnified when contemplated in a majestic, enlarged print format.Conceived to harmonize with a variety of interior ambiances, from the sleek to the organically textured, the deep hues of Pernicious Misgiving D3 enrich any space, offering a statement piece for the discerning art patron. To expand upon this rich narrative, adjacent Scales such as C3, E3 blend seamlessly, suggesting continuous threads of creativity across one's personal gallery wall. Such combinations in a room sporting soft grey walls would amplify the subtleties of these decorative art pieces.Engulfed in the saturated depths that bring forth a kaleidoscope of emotions, one might find themselves lost in reverie. The contrasts crafted without a brush, through a unique abstract technique, result in textures that invoke memories as diverse as the art is vibrant. As the heart of contemporary abstract art, Pernicious Misgiving D3 invites not just art education but a transformative art installation, ideal for both luxurious art settings and minimalist art collections, becoming a designer's favorite.

If artists had a nickel for every time they heard somebody ask them to work for free, well... We wouldn’t be talking about ‘starving artists’ at all, would we?

We're most familiar with Kumi Yamashita's mind-boggling shadow sculptures but the mathematically-inclined artist also uses her expertise in visual

Then there comes how dark or bright colors, or a combination of them, are. Light is quite often taken symbolically. But in the physical sense, it is also quite significant. Light can show or hide objects and the details in them. It can hit and reflect off them. It can pass through matter that could amplify, intensify, diminish, block, or colorize it. It can cast shadows, weak or strong. And as it interacts, it may highlight, outline, or distort what is in sight. A play of lights is fascinating to look at in itself. When it comes to choosing colors and how illuminated a piece of work will be overall, understanding how light works in the physical plane may be required, depending on what you're making or attempting to make. But also, before all that, you could decide whether it will be mostly dark or mostly bright. The moods and energies that darkness transmits can drastically differ from those that brightness does. Typically, darkness goes in hand with the unknown, the scary, and being closed off (may feel more intimate, too). While brightness goes with the evident, the amicable, and being open (may feel more casual, too). And when they don't, it comes as unexpected. They can also be compared as different realms. The inner and the outer or the under and the over. Either is worth exploring, yet one is more tempting to stay in for longer - what kind of creature you are will tell. Interestingly, though, they're both made more intricate by having at least a bit of each other. Because, otherwise, you couldn't exactly perceive what is happening there. It'd be too dark or too bright to make many distinctions. You could opt to achieve a balance or land in a spot leaning more to one than another, all with your particular choice of colors. You may as well play with the idea that one side can be more intimidating while the other can be more approachable, one vile and the other pure. Or appear or come across as such, whether or not that will ultimately be the case, as looks can be deceiving. And maybe it has more to do with how well something or someone can mesh with them. CREDIT: AI-Generated Examples done on Leonardo.AI

oil on canvas, signed l.l.c. 'Cummings', titled and dated verso 'Inside the Yellow Room, 2005'

What if embracing the struggle in art allowed you to let go into your deepest expression as an artist? Integrate the art and science of creating. Start now.

About The Artwork Woman after aerobic exercise, part of a series of paintings of women at aerobic classes. The paintings are the result of individual observation and the collective goodwill (or exhaustive indifference) of the women involved. 
The work consists of an acrylic base coat of burnt orange, then applied with Rowney Cryla thinned pigment using Liquidex airbrush medium. Plus opaque pigments with more subsequent layers of colour washes. This layering of the work allows for subtle tonal attributes that give depth, intensity and texture. Finished with a coat of Winsor & Newton Satin UV varnish, this not only protects the painting, but has a unifying effect. A suggested frame width of at least 60mm or more for this size painting. Original Created: 2005 Subjects: People Materials: Other Canvas Styles: Impressionism Mediums: Acrylic Details & Dimensions Painting: Acrylic on Other Original: One-of-a-kind Artwork Size: 20.1 W x 29.9 H x 0.2 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships in a Box

58 Artworks by Helena Wierzbicki, Saatchi Art Artist

Is blogging still good for artists? Well, here are 7 reasons why an artist should have a blog and why art blogs are still profitable!

Swiss Artist Pipilotti Rist is best known for creating experiential video art and installation art that often portrays self-portraits and singing. Her work is often described as surreal, intimate, abstract…

“Oh, I’m just not creative.” 👈🏼 is this you? 👀 I get it. You look at other people making things — seemingly out of nothing — and when you try, all you get is static in your brain. A big, impassible...

Anatomical drawings that highlight the genius of the archetypal Renaissance man.

Pictures and details of Erwin Wurm Photographs at MEP – Maison Européenne de la Photographie, Paris, March 4 – October 25, 2020 – Contemporary art with installation views

AT the age of 81, Wedderburn artist Elisabeth Cummings may be at the height of her career but remains unfazed by her growing fame.

Every day, the artist arrives at his studio to paint a new vision of the turbulent city that has been his muse for six decades and counting. A brave new show reveals the delights and difficulties of being Auerbach

Katharina Grosse is a German artist based in Berlin. We were captivated by her architectural shapes, and the vivid colors in her paintings. Her process is equally powerful: armed with a spray gun, she covers large canvasses, often close to seven feet heigh, with layers of paint. “I become a different being when I’m spraying,” […]

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creating Stories, Auditory Tales, & More

Is blogging still good for artists? Well, here are 7 reasons why an artist should have a blog and why art blogs are still profitable!

Vintage artist's easel... I couldn't resist borrowing this fantastic vintage artist's easel from my favourite la...